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The study of Islamic law can be a forbidding prospect for those entering the field for the first time. Wael Hallaq, a leading scholar and practitioner of Islamic law, guides students through the intricacies of the subject in this absorbing introduction. The first half of the book is devoted to a discussion of Islamic law in its pre-modern natural habitat. The second part explains how the law was transformed and ultimately dismantled during the colonial period. In the final chapters, the author charts recent developments and the struggles of the Islamists to negotiate changes which have seen the law emerge as a primarily textual entity focused on fixed punishments and ritual requirements. The book, which includes a chronology, a glossary of key terms, and lists of further reading, will be the first stop for those who wish to understand the fundamentals of Islamic law, its practices and history.
The Shringar poetry is not simply a fresh school of poetry but is, in many respects, comparable to the great English romantic poetry excelling in the delineation of nature and flight of imagination. It is a unique effort of bringing under the umbrella of ras poetry, music, sculpture and painting, and a rare mix of scholarship and popular writing.
After the assassination of her husband, seventeen-year-old Jasmine leaves India to live with a middle-aged banker in a small Iowa town, only to retain some of the traditions and memories of the past.
An erotic classic and the most recognized work of an celebrated nineteenth-century poet and courtesan 'Last night, I dreamt of Hari With that melodious-voiced woman. He seemed impatient with me, And now even The song of the nightingale seems shrill.' An erotic narrative poem that explores desire and jealousy, love experienced and love lost, Radhika Santawanam is the most recognized work of nineteenth-century poet and courtesan Muddupalani. Celebrated as a literary masterpiece in Muddupalani's lifetime, Radhika Santawanam was banned by the British in 1910 when it was published again, a century and a half later, with critics panning its graphic descriptions of lovemaking. And, after another hundred years, this epic is now available in its entirety for the first time in English translation
A fresh and very readable translation of the world's greatest Sanskrit writer, Kalidasa ""Kalidasa(circa fourth century CE) is widely regarded as the greatest poet and dramatist in the Sanskrit language. Not much is known with certainty about his life and though many are aware of his timeless Sakuntalam and Meghadutam, very few have actually read him, even in translation. The aesthetics of poetry may have changed over 1500 years - we no longer compare women's faces to lotuses or their figures to vines - but it is difficult not to be moved by the sheer beauty and lyricism of Kalidasa's description of the exiled yak?a beseeching a cloud to carry his message across the mountains to his lover, or his evocative narration of the meeting of doomed lovers in the forest."" ""Mani Rao's supple, contemporary translation removes the distance between Kalidasa and the modern reader, she helps 'read' the poetry for us while remaining loyal to the text. "" ""Selections from all seven of the great poet's works (which are considered by Sanskrit scholars to be authentically his creations) are included in this volume- Meghad?tam, Kumarasambhavam and ?tusa?h?ram, he heroic exploits narrated in Raghuva?sam which gives us a remarkable picture of ancient India, as well as the celebrated dramas Abhijnãna Sakuntalam, Vikramorvasiyam and Malavikagnimitram. This is a translation that belongs to today, Kalidasa renewed""
This volume examines the relationship between language and power across cultural boundaries. It evaluates the vital role of translation in redefining culture and ethnic identity. During the first phase of colonialism, mid-18th to late-19th century, the English-speaking missionaries and East India Company functionaries in South India were impelled to master Tamil, the local language, in order to transact their business. Tamil also comprised ancient classical literary works, especially ethical and moral literature, which were found especially suited to the preferences of Christian missionaries. This interface between English and Tamil acted as a conduit for cultural transmission among different groups. The essays in this volume are on chosen areas of translation activities and explore cultural, religious, linguistic and literary transactions. This volume and its companion (which looks at the period between 1900 CE to the present) cover the late colonial and postcolonial era and will be of interest to students, scholars and researchers of translation studies, literature, linguistics, sociology and social anthropology, South Asian studies, colonial and postcolonial studies, literary and critical theory as well as culture studies.
‘A Khushwant Singh short story is not flamboyant but modest, restrained, well-crafted...Perhaps his greatest gift as a writer is a wonderful particularity of description’—London Magazine Khushwant Singh first established his reputation as a writer through the short story. His stories—wry, poignant, erotic and, above all, human—bear testimony to Khushwant Singh’s remarkable range and his ability to create an unforgettable PBI - World. Spanning over half a century, this volume contains all the short stories Khushwant Singh has ever written, including the delightfully tongue-in-cheek ‘The Maharani of Chootiapuram’, written in 2008. ‘Khushwant’s stories enthrall...[He has]an ability akin to that of Somerset Maugham...the ability to entertain intelligently’—PBI - India Today ‘His stories are better than [those of] any PBI - Indian writing in English—Times of PBI - India ‘The Collected Short Stories leaves the reader in a delightful, inebriated trance’—Sunday Chronicle ‘He is not an ordinary short story writer...[Collected Stories] is delightful reading’—Hindustan Times
Anthology of erotic stories; includes translation from multiple Indic languages.
About 16 centuries ago, an unknown Indian author or authors gathered together the diverse threads of already ancient traditions and wove them into a verbal tapestry that today is still the central text for worshippers of the Hindu Devi, the Divine Mother. This spiritual classic, the Devimahatmya, addresses the perennial questions of the nature of the universe, humankind, and divinity. How are they related, how do we live in a world torn between good and evil, and how do we find lasting satisfaction and inner peace? These questions and their answers form the substance of the Devimahatmya. Its narrative of a dispossessed king, a merchant betrayed by the family he loves, and a seer whose teaching leads beyond existential suffering sets the stage for a trilogy of myths concerning the all-powerful Divine Mother, Durga, and the fierce battles she wages against throngs of demonic foes. In these allegories, her adversaries represent our all-too-human impulses toward power, possessions, and pleasure. The battlefields symbolize the field of human consciousness on which our lives' dramas play out in joy and sorrow, in wisdom and folly. The Devimahatmya speaks to us across the ages of the experiences and beliefs of our ancient ancestors. We sense their enchantment at nature's bounty and their terror before its destructive fury, their recognition of the good and evil in the human heart, and their understanding that everything in our experience is the expression of a greater reality, personified as the Divine Mother.